Вот и закончился Кинофестиваль "Литература и Кино" - детям, который проходит ежегодно в г. Гатчина.
Много было почётных гостей, журналист и литератор #ЕкатеринаВАРКАН
, композитор #ГригорийГЛАДКОВ
главный художник Российского кинофестиваля «Литература и кино» #ВикторКАРАЛКИН
, актёр, певец, композитор #НиколайРОМАНОВ
, кинорежиссёр, сценарист, актёр #ИгорьЧЕРНИЦКИЙ
и поэт, критик, драматург #ЛевЯКОВЛЕВ
Конечно же в завершении концерта прозвучали любимые песни моего детства🤗, автором которых является Григорий Гладков!) .
FOCUS — Lack of attention to detail is the path to mediocrity. On the flip side, my voice instructor who is one of the world's top pedagogues always says that if you can manage 80%, the rest will take care of itself. But how do you quantify 80% in music? It's still extremely subjective, but all I can say is to listen. Constantly. To professionals, to students… Social media is a wealth of both raw and staged musical footage. Use your resources, and build a solid frame of reference.
In grade school, there was a one player in band who was younger than me. He was probably one of the most talented musicians we ever produced in my small town. But did we produce his skills? Was he born with it? Neither. He listened. Constantly. This was before YouTube became as big as it is now. He obtained a massive box of CD's and tapes and such and spent countless hours with them, if I remember correctly.
I've spent around 3 1/2 months with this set of exercises on and off. It's been a journey. While I've focused on other things as well, these have been the real elephant in the room. They are brutal in their demands of sliding individual fingers up and down the string while mostly maintaining the frame of the hand. Accuracy is a beast, and I am still vehemently opposed to stickers.
But there came a point where it simply started to click, and I would have never reached that point without FOCUS: long-term, exacting focus. It's crucial to have the right technical concepts as well, but it's also so easy to try to move on to something different and more “advanced” much sooner than you're truly ready. I feel these exercises have paved the way for me to more-accurately approach chromatics in material I work on moving forward.
THE CHICKEN OR THE EGG? — Student violinists at different points must choose whether to focus on bowing or the left hand (fingerings and pitch). Quite a few teachers, artists, students, and observers consider bowing to be the primary difficulty and more important than the left hand in order to get a jumpstart on artistry.
I generally disagree, and my studies hinge on that. Intonation and left hand technique are by far the most complex. At the end of the day, any passage of music can be simplified to note-by-note bowing to work on intonation and left hand speed. Bowing can easily be applied second.
With music as a gestalt, however, bowing is also a crucial component. Thus-far, my focus being on securing the left hand has kept bowing on the back burner. In the last few days, I have finally been working bowing studies into my practice program. A mirror is proving crucial, which I have setup in an ideal spot in my practice space.
My biggest goals coming in have included bowing in precisely one spot on the string and not “swimming” or relocating out of carelessness, keeping perpendicular to the string, relieving shoulder and arm tension while improving my posture form, and keeping my chosen bow hold consistent.
One of my greatest surprises and challenges has actually been introduced by Ševčík in double stopping. It is my first real work with double stopping, which proves difficult not just with the left hand (down the road), but also with the bow arm. It's extremely difficult at first to sustain two pitches at once and requires a lot of stability in the bow.
Enjoy viewing my first steps at isolating my bowing…
SCALES — There is almost no instrument that scales are considered more vital for than a stringed instrument. And with the violin being the smallest stringed instrument, with therefore the intervals being closest together, that makes it all the more crucial. With a piano, at least the keys will always visually be in the same place and with set tuning.
With the fretless nature of the violin, however, a player's abilities are often gauged by their ability to play scales. Scales are the roadmap of the location of each note on each string. In addition to multi-string scales, one-string scales are also crucial to learn the precise locations of notes on each individual string. In Carl Flesch's method, Flesch includes single-string scales FIRST. This fits my own approach to learning the violin, considering single-string playing and shifting prerequisite to string crossing.
I have included a standard three-octave, all-strings scale as a fifth video. C Major is an excellent scale to start with, because it begins in second position which is not too high to start with but outside the typical first position “default.” Enjoy! I hope you find watching my beginner experiences valuable, as I start to tackle this crucial cornerstone of violin technique… . . . Videos from Ševčík's bowing method coming soon, a new study I have been just beginning…
Today I got my bow back from the luthier with a fresh rehair! It hadn't been rehaired since I bought it online, and it didn't play near as well as their shop bows. So I left it on Friday to be redone. I also asked what rosins they see a lot of professionals use, and she immediately went for this P. Guillaume. So I got a cake of it, too. I haven't been too thrilled with my Larsen rosin, though I'm no expert on the matter, yet. But it doesn't hurt to try a recommendation.
I can't wait to get some new videos up for all of you! I've been very successfully working on several exciting things I'll be sharing soon. So Follow if you haven't yet, and stay tuned! 🔥 New videos with the new violin, new bow hair, and new rosin coming soon! 🐸☕️
After trying SEVERAL instruments within a pretty wide price range, this English violin from the 1700's blew the others completely out of the water. There was a major repair done on the back over a hundred years ago, a repair that devalued the sales price of the instrument. But the quality of sound remained and far-outshines other instruments in its price range. The whole instrument vibrates to a far greater degree, and where there were holes in the resonance of the others, this one has nothing but color. It was a very easy choice, though the price was steep on my budget.
I can't wait to continue moving forward with a proper instrument! It's already worlds easier to play with accuracy and without tension. The shop was kind enough to let me borrow a bow. I decided within seconds of comparing my bow with the shop bows that the hair on mine was s*** by comparison, so I decided to have mine rehaired at quality. Will be picking that back up on Tuesday! Videos will be coming VERY soon.
At first glance, one would think these exercises mostly about moving smoothly when shifting. They're so much more than that. One of the most difficult parts of the fretless nature of the violin is that the notes become closer together as you go higher. Multi-string scales and exercises don't fully address this issue on all strings, and they don't address the difficulty of playing narrowing intervals higher on lower strings (what a mouthful!). When I was in undergrad, it used to carve my ears out listening to violinists and violists. Even in college, the intonation was soul-scathing! Coming into learning the violin, I've maintained a determination to fill whatever holes exist in violin pedagogy that prevent students from learning to play increasingly in-tune from the beginning. Forgoing first-position mastery and a multi-string focus have been keys to this. By studying each string individually as prerequisite to string-crossing, I am both training my ear and body posture up and down the full length of each string. The ear training is probably the most-difficult, which is where an electric keyboard is absolutely vital.
With this exercise, I have focused mostly on the fourth string, as it is the most difficult to navigate smoothly. I've placed the first string video first in this video series in order to keep things mixed up and exciting.
Hopefully seeing my humble beginnings at serious exercise book studying will be of some value to you…
I'm unreasonably obsessed with playability on my G string. It's the most difficult string by far to play high on, and without the entire violin setup perfectly, that difficulty only compounds itself… Total freedom on the lowest string enables total freedom on all strings.
One thing I've become obsessed with is how tilted high quality violinists manage to keep their instruments. It's almost as if they have them turned so they can show you what their fingers are doing. But what it does is allow the player to more easily access the lower strings and not go sky high with the bow arm.
I had abandoned my shoulder rest and committed to a Hollywood-style chin rest. The chin rest was very expensive. After pulling an all-nighter with some serious experimentation, the shoulder rest is back on, and the chin rest has been changed out for my Guarneri. It's really fascinating how probably 98% of quality violinists play on a Guarneri, and I'm starting to see why. There's something about the curve to it that allows a player to comfortably tilt the instrument. A shoulder rest becomes crucial in securing the tilted instrument without clamping at the hand.
I had abandoned the shoulder rest due to difficulty keeping the instrument stable, but interestingly, it's much easier to keep it stable with a shoulder rest when using the Guarneri. It was the other chin rest that caused problems when combined with the shoulder rest.
A couple of things are very clear, though. 1) Watch invariable trends among pros that are well-outside commonly-discussed violin pedagogy. 2) Don't stay in a lower position on any string. Practice the full length of every string to know what your setup is dealing with. 3) Expect to spend lots and lots of 💰 experimenting… I'm sure more changes are still to come, for me…
NEW VIDEOS & RESTART COMING SOON!!!!! But first, I would just like to say that Ševčík's shifting studies are life!!! If you only stick to his main set of exercises, you are really missing out. These exercises, in addition to Carl Flesch's scales, have been allowing me to explore the full extent of each string separately. String crossing is a very hard and important technique to develop, but what is also extremely crucial is being able to navigate the length of the instrument smoothly. I also believe failing to study doing so appropriately and fully is the primary reason for violinists being unable to play in-tune, since intervals get smaller the further you go up a string.
These exercises have dipped my toes into really listening very carefully to my intervals as I shift and repeat the same patterns at different scale degrees all the way up each individual string. If you've not tried them, whatever level you're at, you're really cheating yourself! I'm still in the very early stages, and I can manage. I also see plenty of advanced violinists who need a little of this type of TLC…🤐 (no names, no pack drill)